Category Archives: update

#48 – Demo 1.1.2 (Windows, Mac) + fixes report

First of all, if you are having trouble receiving the download on your mail inbox put your direction here and the Humble team will send you another link with the demo (It seems that their system has some problems with the mail listing). Now you can choose between Windows or Mac OS X.

We couldn’t export a Linux build so far (it’s not so easy as preparing a Mac version and we need to make additional changes to the core structure of the game) so our apologies for the Linux backers 🙁   we’ll keep you informed about any progress in this matter.

These are some of the things that we changed / fixed for this version:

  • The save state is fixed. Once the player dies Subject W will rebirth in the previous garden the Continue option will be highlighted by default if you have a save state
  • Pressing Intro/Start during the game will ask if you want to return to the main menu  
  • Pressing Intro/Start during a cutscene will ask if you want to skip it
  • The ESC key is mapped like the Intro key
  • The game will launch with the default resolution of your Screen (Res. options will be included in the final version with a windowed mode too)
  • Now the player is able to climb-descend if keeps the D key (keyboard)/RT (controller) pressed while walking. We’ll probably add different modes of configuration for players that prefer to run with the RT and climb with the X button
  • The graphic prompt that represents a climbable surface has a wider range (players can identify them from the distance)
  • Subject W makes a wider jump and it’s easier to move between surfaces without falling from the corners (with this quick fix platforming is less annoying but we’ll keep working on this mechanic)
  • The difficulty curve is more balanced. From the beginning players will have the possibility to interact with their environment on less stressful situations
  • Multiple rooms have been adjusted to the new mechanics
  • The doors keep opened while you enter from another room (you don’t have to see the opening animation twice)
  • The scientists looking at the back show a new state bubble with a clock, representing that they are distracted and you can advance unnoticed
  • Some bugs of the map have been solved (all closed doors are represented with a red wall) and now the save gardens are highlighted on green
  • All the lower hideouts are unified. To use them Subject W needs to be in a crouched position
  • Fixed the pixel art rotation bug of the guards shooting
  • Irvine grenades make more damage
  • The game works on Windows 32 bits 

Problems that we are still working on and might appear while playing:

  • The Mac version shows white bands (or a rectangle) if your screen resolution is not proportional to the original resolution of the game (480×270). The final version will show black borders instead of white ones.
  • Sometimes the character gets stuck inside elevators. We didn’t manage to find this bug in our tests but you can avoid it exiting to the main menu (or the game) and continuing from your last save / launching the game again. This will fix the bug permanently.

If you experience technical issues or have concerns about anything leave a comment below or send us a private message and we’ll look into it.

Two-mode stages, effects, and puzzles

Here we are with another update, this time to bid farewell to 2018. I can’t deny that it was a rough and bumpy year, following a health issue that forced us to slow down in the animation department + managing to combine our part-time jobs with the development of the game, but overall we were capable of push through and finish some significant milestones. The final boss has been a massive challenge in terms of scale, composition, and playability, but we worked against the clock since the last update to complete most of its animations, only with the character sequences remaining (basically end-game cutscenes). Multiple stage designs and a ton of environmental effects were done too, some of which are shared on this post.

On another note, there is an issue that we wanted to address regarding Kickstarter updates: since most of the mechanics, enemies, and levels are already designed and build, we’ll be having trouble showcasing additional content further on. For the remaining tasks, we’re gonna implement the new subjects and assemble the reverse map. Both elements take part in the “twist” of the game and could potentially ruin the experience of most backers if revealed, so it will be hard to post interesting stuff further on… Hopefully, we’ll manage.

Also, taking on the reverse map or Side B stages we can say that most of the graphics are made and now need to be attached to the original objects of all chapters inside the level editor (walls, vents, platforms, etc.) and that takes a LOT of time.

Our design is not exactly like the one from Castlevania: Symphony of the Night in which the levels are flipped upside down. On PLFC a specific event will trigger a change that affects the entire map, modifying most background sprites and adding new enemies, traps, and situations to all scenarios. It’s a challenging process that requires a ton of planning in order to preserve the core terrain structure while adding substantial gameplay changes. We just finished a chapter of the game that relies heavily on this technique, wanna see how it’s made?

Stage A and Stage B

There are multiple things that we have to take in consideration in order to develop a stage with two modes.


At first hand, we have to define the structural design of the rooms, which should remain as similar as possible in both versions to facilitate the level composition in Unity (sometimes key elements are relocated, or certain parts that couldn’t be accessed appear unlocked, but the playable core is still very similar).

This kind of design is no easy task, considering that the position where we leave certain objects affects the way players can access the rest of the rooms. In some cases, enemies such as floor saws, machine guns, cameras, and even fans can hinder our progress if we do not take into account the disposition of the rooms and the location of their interactive objects.


This is an example of a level with an interconnected structure, in which every room has A and B variants. In mode A the player will have to redirect the energy of certain sectors to unlock new areas and move forward, using a series of generators distributed through multiple stages.


Once each puzzle is solved, and the energy has been returned to this floor, the level changes its design to B mode where new enemies and routines are loaded. The structure is practically identical, only the sprites that represent the current state of the rooms are replaced.

Same sprites with different color palettes

Speaking of graphics, in Paradise Lost we do not use real-time lighting, and all the scenarios that require two game modes have to be redrawn with a different color scheme. This may seem laborious, but it is not as hard as it looks. Most of the time the walls and other decoratives of the background are the only sprites that require a full-color overhaul. The rest of interactives and characters are affected by a LUT file (color grading) applied to the camera on each chapter. This parameter changes the general color information, unifying the tones of all the elements.

A sample of objects and characters that don’t require recoloring. LUT blending does the trick

This workflow is essential because it allows to color-blend the common interactives that are placed all around the game without needing to create new animation tables or different sprites for each mode. With a little knowledge of color grading, it is relatively easy to find the value of curves or adequate contrast, avoiding the use of lightning in real time with normal maps (our process is completely ad hoc, having its pros and cons).

Color change has a narrative purpose too, setting the mood of the events that occur during the adventure.


Depending on the level, some sprites are created to redecorate an existing object: glass cracks, dirt, abandoned paraphernalia, etc.



All the work needed to swap the sprites can be performed at a relatively fast pace thanks to a useful tool that we included in the level editor called “Replace instances”. This small but valuable piece of code helps us replace an existing prefab of the stage with another one from the project folder, maintaining the position of said object in the scene and its order in the layer (and thus preventing it from suddenly step above other sprites).


DNA recognition


We’ve also completed a few parts that required the use of the host ability to unlock panels with the help of the G.E.R. scientists. In some cases, Subject W won’t be able to access certain interactives (a fingerprint is needed), so the Host skill needs to be used to control humans and unlock them. Only specific scientists can access a panel, and the color of the ID will determine if they have the necessary rank to use it (keep in mind that not all will let us see their card, and we’ll have to work our way around them to identify the correct ID without making a fuss).


These characters give us access to new sections or activate key components. Most hand panels are associated with a central computer next to the thing that we want to unlock, in which the number of individual panels required is shown (in most situations several codes are needed to give us access). Hand panels are scattered through the map, forcing players to explore each point before being able to advance into the next section of the game.  

Pattern puzzles


These mechanisms require a pattern of pulses that have to be followed in the correct order, determined by a random code generated on the central screen.


The bar below the sequence will show us the time left to perform the necessary pulsations, having to use both Subject W and a decoy alternatively (the symbol to be executed in the pattern is shown next to each button).


If we follow the pattern with no errors, a linked element will be unlocked in the same way as the aforementioned hand panels, giving us access to new areas. If we fail the puzzle resets with a new sequence.¨

It may seem simple, but when new elements are added to the mix such as placing different enemies in the room, altering the complexity of the pattern or simply increasing the distance between buttons, we manage to create interesting variations of a straightforward mechanic.

Boom, flash, drip

The animation of effects is one of the most challenging and experimental tasks that one could face. They don’t have joints, nor their movement is restricted by weight. The frame-to-frame poses can be more organic, allowing more freedom without sacrificing quality.  

Regardless of the technique used for each element, we can also alter the speed/framerate drastically to obtain realistic and smoother sequences. Let’s take a look at some of them.

Fired up


Even if they look complicated, flames are one of the easiest effects to create, and all because they do not require a specific animation pattern (meaning that you do not have to follow with accuracy the previous frames of the timeline).

Slowing down this sample you can see that the freehand technique works perfectly on flames

You have to follow a series of basic rules to create fire:

  • Always start from the bottom of the sprite (or surface which the flame will be attached to) and consume it / make it disappear upwards
  • Apply a fast animation rate (10 or less fps) to disguise any possible imperfection between frames and also showcase more motion
  • Add exterior and interior radiance to the shape to give it vividness

The filters bring the animation to life: orange outer glow and a white inner glow

Another tip: different flares can be grouped to make a wall of fire in any way you want.

Blast from the past  

Explosions are a step up from the previous effect. They require more precision than flames, although once the technique is put to practice they can be created with relative simplicity.

The principle is the same as that of the flare only this time with circles: the fireball ascends as the action progresses and it gets smaller until it disappears. The transition from yellow to orange creates the illusion of fire dying out (others use smoke and soot effects during the consumption of the blast, Metal Slug style).


The first step is to define a palette that goes from whitish yellow to orange. This will set the color transition of the fireballs.

The main animation it’s as simple as draw a highlighted circle that contracts while going up. We stop applying white light at the middle of the sequence.

Now we can mix different sizes of fireballs, adjusting their position with each frame (It’s important to attach them to the central one). Giving body to the explosion is simple: draw an irregular cloud that follows the fireballs on the layer below (its color will start with the first frame in the lightest orange and end with the darkest one).

After this, we can add details like darker shadows on the lower part of the cloud. Debris and kinematic lines at the sides of the fireballs will improve the animation tremendously. It seems complicated but, with a little bit of expertise, you can even generate an explosion from a single cloud without drawing separate fireballs.

If the explosion starts fast and decelerates progressively the bursting effect will be more intense and realistic. You can also add an alpha degree to the latest frames of the animation to make the cloud disappear.



This effect is very easy to perform: we can do it freehand style or follow a path around the shape.


Basically, what you have to do is draw a line on a continuous zigzag pattern, leaving a wide margin between each frame (wider distance + lesser frames = more abrupt).


The rays should be of a white-blueish color with a phosphorite glow around it. You can also add a flickering effect to the object (add a layer with the object’s form filled in blue with outer glow and duplicate the frame lowering the alpha level. This two frames will be copy+pasted through the rest of the animation).

Lightning bolt


This electric columns not only add a touch of drama to the cutscenes but also affect the playable situations of the level in question, disorienting the player on key gameplay moments (sorry but not sorry :P)

A lightning effect can be developed in many different ways, although for us -given the scale and style of our sprites- this is the most effective method: we start by making a stroke with a thickness of 4~ pixels and slim it as time goes by until we reach 1px. The sequence is divided into groups associated with the number of pixels of each frame (4 to 1px would be four groups). So, if our animation consists of eight frames, the beam will have the first two frames at 4px, the next two at 3px, other 2 to 2px and the last two at 1px.


To give dynamism we can alter the orientation of the branches and reduce the movement while erasing its pixels until it disappears. The faster the animation speed, the more realistic will look (the differences between each frame will be less noticeable too).

The radiance of the thunderbolt is achieved by the addition of a blue glow (or a blur) with the shape of the first frame in the layer below. To mimic the light cadence that can be observed in the sky during a storm we have to maintain this glow going at least twice the time of the main animation while fading it to alpha.


Finally, we release a white flash (affecting the whole scene) triggered at the first frame and blend it to alpha rapidly. The beam’s initial strike is repeated during three cells approx. so we can see the lightning bolt in the back while the flash fades.

Take an umbrella


First step of a rainfall: determine what kind of downpour are you going to represent. In Paradise Lost, this precipitation comes with a massive storm outside of the G.E.R. building, so the first thing that we established was the orientation of the drops, drawing them in 45 degrees to simulate the force of the wind.


Its development is relatively simple; we draw a white line that is blended to alpha on top and make it follow a guide drawn from side to side of the surface for about five frames.

Establishing a random rain pattern



Now we duplicate the cells and relocate the frames multiple times in other positions, giving the feeling of randomness. The higher the speed, the more intense it will appear.

The impact of the drops on the glass is simulated by drawing concentric circles growing from one pixel, all of them blended to alpha progressively. We repeat the process used for the falling drops, duplicating and scattering each wave.


With both drops and circles finished we can establish a closed loop, masked within the bounds of the glass. Add some thunderbolts, and we got ourselves a perfect storm!


The spilling of fluid has two basic rules to follow:

  • Start your animation from a single stream that loses thickness with each frame
  • Pull the liquid down simulating the effect of gravity
  • Always follow a concave parable, no matter the direction of the spill

The onion skin shows the principles previously outlined. As with the rest of the effects, this kind of animation works better at higher rates of fps, so little imperfections won’t be relevant.


To simulate volume add more layers upon the first stream and scatter the rest of splatters. Not much to add about it, except that you can erase parts of the spill in the last frames to kill the animation in mid-air.

Other stuff

Stuck fans


We’ve already shown the conduct fans in previous gameplay videos where you can see how they block paths. To avoid getting chopped into a salad, we must reach their switch, either sneaking the decoy through grills and conducts or using other skills to access them. Now we’ve included fans surrounded by dust and mold, accumulated by the lack of use.


To start them, players will have to look for an additional energy source able to reactivate their switch and unclog the blades.

Accessing the HD


Most rooms of the game display machinery behind the playable layer, but the lack of animation of these objects made some places look a little dull. On an attempt to spice up the backgrounds with an easy solution we decided to add led lights that can be attached to any mechanic component.

These bulbs are no bigger than 1px, and each of them has a different color pattern (8 animations in total), giving the sensation of hard drives running in real time.


We think that this simple yet effective resource brings life to the levels and creates a notion of realism around you.

Security Cameras 2.0.  


As seen above this lines, the security camera was conceived to check the surface of a room between two given points. As we tested all the skills and came up with new mechanics, we realized that a simple tweak could provide us with a ton of new possibilities.


Now we can give cameras fixed positions, so players need to move them away from their scan limits, keep them busy while Subject W stays unnoticed to other enemies, and so on. It is fun to discover new ways to give you a headache  😀

Aaaand that’s all, folks. With the animation scheme of the last levels/bosses already done, next months we’ll be focused on the remaining cutscenes while implementing the B levels.

As much as we want to, we can’t commit to a specific ETA yet; there are a bunch of cutscenes that need to be completed (at least they are mid-game scenes and don’t require as much animation as the latest boss / end-game videos). Also, the inclusion of the B stages will be a time-consuming labor so we’ll try to speed things up and keep you up to date. As always, thanks for staying with us through this journey.

PS: Wish you all a happy and fulfilling 2019. Our new year’s resolution: finish the damn game!  (ಥ﹏ಥ)

Boss animation timelapse, assembly lines and more levels

Hello everyone! In the previous update, our main topic was the design of the Symbiot, the robot boss sketched by one of our top tier backers. Following that work, we continued developing the rest of the bosses that were still in a premature state. We took this opportunity to record and share with you some of the key sequences of the Hybrid, the human-plant mutation appeared at the end of the Paradise Lost reveal trailer.

We also added new decorations for the backgrounds and finished entire areas of the map that required a new set of mechanics. We’ll get into detail about the assets designed and the challenges faced to create this stages.

The task that we are struggling the most with is the creation of cutscenes. They are complex and rich in animation (multiple characters talking and doing gestures to recreate dialogues, monitors with interfaces, and so on). They also require a lot of FX to represent specific actions, and the assembly process inside the cutscene editor is long and tedious. It is being one of the most time-consuming labors of the development.

For those reasons, they’ve been set aside so we can focus on finishing the art for the levels and the boss sprites. Hopefully, after the final boss is done (which is massive and needs two different sets of backgrounds, huge animations, and effects) we’ll be able to speed things up.

Without further ado, let’s check some of the content we’ve been working on.

New levels

While doing bosses we also worked on new mechanics for chapters that were half cooked. Here are most of them:

Assembly area

Two of the chapters of PLFC are focused on the platforming of assembly lines where players have to test their skills, avoiding presses and welders while moving on top of conveyor belts.

Still working on the FX for this area, sorry!

First of all, we needed to define the basic gameplay patterns to obtain a coherent level design that also avoided the production of a massive quantity of assets (one of our main problems developing this game).

This is the draft for the basic elements that will be implemented into an assembly line.

Finding the correct balance was no easy task since we didn’t want to end up with repetitive patterns over and over. Luckily, the iterations between all of the elements and the variation of their properties (speed of the conveyors, dimensions of the surfaces, and timing of the presses) gave us a wide range of situations to play with.

After this, we started testing the different elements composing an assembly stage on Unity with some basic graphics like presses, welders, interactive platforms, and conveyors. We made sure that everything was robust enough and all assets were able to interact between them without problems.

Each element has a series of components that can be altered in the main script in order to modify its behavior in the game.

For example, a press has starting and ending points, and we can choose the type of movement it can perform between them: constant (can’t be stopped) or activated (depends on a panel’s button to make a movement). Loop time > represents how long does it take to go from one point to another. Time between loops > how much will it stay still in each position.

With all the tools in hand, we started to define the dimensions of every object and its variations into our vector grid (the script properties and times are assigned in the mockup for every object). Here we make sure that the player is able to jump, interact, and move freely within the level’s space before building assets and moving into the engine.

As stated in other updates 10 pixels equal 1 square in the design grid, so it’s easier to assemble a raw level here and then adapt vector units to pixel art assets knowing the scale in detail.

Sometimes, like in this case, we start making early concepts of levels until some assets are finished/tested, just to have an overall idea of how a mechanic could work and what elements can be sidelined. We try to maintain most of the original concept if it looks interesting, but we can’t avoid the simplification of designs based on the limitations of the final interactives.

This method also helps us see if we need to change the pixel assets, their scale and everything else before moving into the game engine and start assembling and testing the levels.

From top to bottom: platforms + sliders, presses + welder, interactive panels, and conveyor parts

The solid blocks serve two purposes: hide the graphic of a press or a slider inside their structure and work as a platform. All of the sizes have two front decorations to avoid graphic repetition

Another advantage of working with modules is that we can do multiple iterations with different elements. In this case, the head of the welders can be attached to a beam or inserted inside a block

This is a sample of the previous draft without details, ready to test. If everything works as expected we dress up the room with the decoration sprites:

Some of them are created to spice up the conveyor belts or add more depth to the backgrounds with blocks in front of them.

At last, we add the objects that are transported through the assembly lines showing the products manufactured by G.E.R. in each section. To create a pattern that can be replied multiple times these elements are looped along the conveyor animation before being exported to the engine. This way if the conveyor needs to go faster we only need to change the fps rate of a single element. In gameplay terms, the box collider that acts like a mobile surface it’s manually adjusted to the width and height of the belt, ignoring the objects on top.


The chemical area was one of the featured chapters since the inception of the game (you can see a prototype of a storage full of jars in our trailer), but its final design took second place since we prioritized on main levels and certain parts needed to be finished (like the assembly lines and biohazard scientists). The conveyor belts are used in both engineering (presses and welders) and chemical sections (here instead of welders, you’ll have to avoid acid dispensers).

To reinforce the toxicity of the tanks and elements that appear all over this sector we decided to tint the friezes and walls with a vivid green palette, and add a subtle bevel effect to the warning signs of some of the set pieces. Glasses show strong gradients composed of green, blue, and yellow colors while some details preserve the orange branding used along the facility to create a strong contrast.

Each wall has a composition of multiple color-adjustment layers, in order to obtain a certain metallic look. Finding the right balance of tones was no easy task since Subject W and the scientists with biohazard suits have to be recognizable.

The climbable platforms like machines and tables are drawn with a neutral grey scale to distinguish themselves from the background (the LUT effect applied to the camera will equalize all elements despite its color with a slight blue tone).

Welcome to G.E.R.  

This is the entrance of G.E.R., where Dr. James Warren will meet Dr. Aaron Selten, the head of the facilities.

For this background we went with a clean, restrained look for the back pieces with light glasses and clear walls, allowing other elements like the sign, the desk, the couch, and the info objects to stand out.

In the center of the hall, you can see a big baobab-alike tree with blue pigmentation on its crowns, a statement of the achievements made by the bioengineering division of G.E.R.

By the right side, an elevator gives access to the underground facilities, where the action of the game takes place.

Boss animation process

The Hybrid is the last boss that we’ll be able to show because the rest of them enter spoiler territory. This human-plant experiment breaks free after the merge of a parasite with the poor soul locked inside a stasis tube. Confused after the bonding, this creature will try to defend itself from W with its arm-vines and deploy obstacles to get in our way. Players will need to use multiple skills to confront its attacks and force the host to throw out the creature grafted inside him.

An arm with a spiked ball… what were we thinking

Since we needed to complete its animation set based on the final mechanics (the concept anims were made on a dated pixel art program that wasn’t compatible with our current toolset) we took the opportunity to refine its look, making it bulkier and more detailed.

Mixing DNAs doesn’t seem like a good idea

The animation sequences developed for the cutscenes took some time, with all the bubbles, cables, and floating elements inside the pod. Luckily we recorded some of its core movements so you can see how we create this intricate pixel art pieces. They are very long so feel free to speed up even more the Youtube videos!


This boss is based on close combat attacks so you must stay away from it most of the time. For this pose, we decided to create a strong-paced animation with little details like the chest expansion and the arm-vines in constant motion.

Wip attack

The Hybrid will use its long arms to create an extended vine and reach Subject W from the distance.

To avoid the attack we need to give players enough time to avoid the attack with the double jump ability. Players need enough time to escape from the attack so we delayed the hit with a charge (the enemy contours its body before releasing the vine). In the end, the step was too much of a giveaway so we cut the animation a little bit to obtain a faster sequence.

The arm is exported separately so it can be rotated inside the game engine and reach the player in any position while maintaining the pixel perfect aesthetic.

Recharging energy

After some time the parasite merged with the human will lose its grip from the host, forcing it to generate a cocoon and regain control (but leaving its form exposed to W’s attacks).

The first thing that we needed to highlight was the weak point (the human head), facilitating its reach by kneeling the character while creating a “little forest” on its base to keep it rooted to the floor. Its arms get entangled on the body, giving away that it can’t attack while maintaining this form. Energy lights flow through the vines while a glowing effect loops during the time that takes to charge and return to its plant form.

Exposed and stunned

If we managed to hit the Hybrid in the previous state the human body will be exposed for a brief moment, leading Subject W to take control over the situation (literally) by releasing the human host from its parasite. The transformation sequences are very tricky because you have to change from one character to another, blending the limbs, head, and other exposed parts, while maintaining the proportions of both the monster and the person.

Turning into human

This was the initial transformation pose, developed to see how the boss turns from plant to human. After designing the sprites, the animation was cut into pieces to transition to multiple states (stunned, recover, etc.).

Transformation and QTE

In order to release the human after using the host skill, we created a little QTE mechanic in which the players need to press the action button repeatedly to free him from the parasite. This was a tricky one since we needed to make it work forward and backward, with all the keyframes designed to move from one stance to another while avoiding sudden jumps or strange positions.

Creating traps

This is a clash based on the use of the double jump so the boss will create new traps on the floor and the roof for each routine. As you can see, this animation also has the energy patterns seen on the recharge stance, this time releasing the energy from its arms into the stage.


We didn’t record this animation either but we wanted to show the enemy puking at the end of the third hit. It is just fun, isn’t it?

General progress

To be as transparent as we can about the development process we decided to represent the percentage of progress made in different departments so you can see how the game is coming along and what are the parts that are taking more time.

User Interface elements

  • Vector art > 75% done | Basically all things related to menus, tutorials, tips, and pop-ups (non-pixel art graphics). Most of this content is waiting in the shelf to be implemented at the end of the development (possible changes to the description of skills, relocation of photos to obtain experience points, etc).

Pixel art

  • Animation for bosses > 75% done | The final boss requires a lot of work and is composed of different parts. After finishing it we can speed up things in the animation department.
  • Animation for Enemies and the rest of the main characters > 100% done  
  • Animation for Cutscenes > 50% done | This part is the easiest to develop because most assets for NPC’s are very simple or need few tweaks from the ones already made to represent certain actions. Elements like monitors or background effects can take more time, aside from the last two bosses that need dedicated animations.
  • Backgrounds > 80% done | Our game, like Castlevania SOTN, has a second version of the entire map with an all-new set of assets that will be overlapped above the original stages -Sorry for the SPOILER dear backers (not sorry, muahaha)-. We need to create elements that can be applied to different levels without changing their original structure, and also match with multiple aesthetics. With the help of color-adjustment tools and patience we are managing to obtain great results, but it’s a slow process.

Game design

  • Bosses > 70% done | Some of them still need a lot of testing (they have way more different mechanics than a regular enemy) and the final boss is still in an early stage until all of its graphics are done.
  • Cutscenes >36% done | One of the slowest tasks of the development. Creating animations for them is going well, but adding them to the engine, estimating the time of each sequence, matching dialogues with poses, inserting FX… work overload.
  • Assembling levels > 65% done | An entire sector needs to be done, another one has the structure without enemies and, for the final one (the SOTN gameplay change), we need to add a new layer of decorations, modifying the whole map and including a new set of enemies (luckily they are already designed). This part will go faster after finishing the bosses, having more hands on the level editor.


OST and Fx > 40% done | Most themes are done and others need the cutscenes to be made. Besides this, our composer is not fully working on the game so he has to carve out time in his exhausting schedule to create the pieces and making compositions right off the bat is very difficult. A song for an entire chapter needs to work at multiple levels: match the type of enemies, aesthetics, and gameplay pace (while playing in a constant loop) so it’s no easy task.

Finding and recording Fx is another time-consuming labor, that needs a lot of testing and editing. The low percentage of this part is due to the need of cutscenes to decide if some FX can be left aside or recycled from other in-game elements.

_ _ _

As you can see a lot of things need to be done, but the percentage of some tasks will rise faster with the implementation of stuff that is already made. In any case, and as always, we’ll keep you informed about every detail concerning the development.

Hope that you like how the game is coming along.

See you around!

New boss, new areas and new logo

Hello everyone! We are back from the update hiatus to show you how things are progressing and take on different areas of the development. We’ve had some setbacks the last months regarding the bosses since they needed a LOT more testing and fixing than we previously expected.

Our main problem with the “human” ones is that we wanted them to perform as realistic as they can (reacting to the player, activating traps, taking countermeasures on Subject W’s skills and more) so they prevented us from progressing with other parts of the game until they worked fine. Hopefully the new ones will take less time considering all the experience learned from them. In any case, let’s have a look at some of the stuff we’ve been working on.

The Simbiot

This is the boss designed by one of our top tier backers, Yannis Tanopoulos. It is an hybrid robot that combines the organic properties of a bio-engineered seed with the dangerous AI programmed by the G.E.R. specialists, resulting in a non-stoppable machine. Players will have to discover how to take it out and retrieve the shell ability generated by its core.

Click on the image to enlarge

The design process for the Simbiot took a little while, and it evolved from an animal-focused robot to a human-like prototype (an upgraded version of the cervids). We know that some of the quadrupeds look rad, but we faced two problems with their appearance: 1) this design required problematic animations and 2) the level design of the boss stage was created to match a more platform focused confrontation -the assembly line-, so we decided to go with the biped concept.

The armour idea was there from the beginning, but Yannis realized that we should give it a more organic look since the metallic plates didn’t match the shell effect created by the skill of the Simbiot core. With this in mind we decided to integrate the spikes from Subject W’s shell design, developing that peculiarity on the game’s script and giving it a narrative purpose.



One thing that makes it stand out is that it has 3 different animation sets. After receiving an attack the shell that protects it will broke, showing less pieces of armour with each clash until exposing its core.


New designs for backgrounds and color grading

Areas under construction

To avoid repetition on some locations we decided to include new sprites to represent work-in-progress sectors of the facility. This designs show structural building materials such as pillars, wall plates, ladders, and cables.

Other levels have one set of wall sprites and for this area we created two: one composed of darker pieces -for the raw background- and a second one for the metallic frame and the plates without painting.

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To emphasize the isolated feeling we avoided to put lightning inside this corridors and added darker Hue/Saturation layers to give an additional somber tone to it.

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Following this concept we created more elements for abandoned elevator shafts where players need to do some platforming and find the correct path in order to advance.

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The lightning bulbs serve to identify the gaps on the floor connecting each height.

Cold chamber redesign and chemical area

A graphic overhaul has been made to this stages since we released the demo. We felt that the grading layer (or LUT) applied to the camera killed the tones of Subject W, the enemies, and the interactive elements, so in order to fix this we touched a little bit the color palette. Now the background pieces have a brighter/more metallic look, the strong blue lightning contrast of the friezes has been reduced and the color grading is lighter (the old one looked over-saturated on certain screens).

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The sprites remain practically identical with the exception of the pipes that now have a more volumetric effect accompanied by a parallel shadow effect.

They are also connected to the higher part of the wall instead the low part of the frieze (it was a little odd since this element doesn’t have depth).

The old storage wall plates have been reused for an area where the chemicals of G.E.R. are stored. For this section we can apply a stronger LUT than the one used to the cold chambers, reinforcing the visual sensation of chemical processing (plus most of the enemies of this sector are hazard-suit scientist / cervid robots which stand out more than other enemies on strong RGB LUTs, so it ended up being a win-win situation).


Surveillance area

The corridors connecting the surveillance sector now have the same frieze design of the server/control rooms, giving more continuity to this area. A different blue-ish LUT has been applied to the camera to avoid color overlapping / desaturation of certain tones such as orange, yellow and green (maps, signals and even UI elements were affected by this).

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New game logo and menu

It’s been a while since our last UI / graphic design update so we wanted to show you the all new Paradise Lost: First Contact logotype.

Some time ago we abandoned the narrow font style used in multiple UI elements because they have readability issues in long paragraphs (problematic in lower resolutions or smaller screens like the Switch one) so we decided to implement a more rounded font on the logo, following the same design lign of the menus.

Besides this, a lot of games and sci-fi movies use the same kind of aesthetic defined by a stretched height font with fixed-width between letters akin to  A L I E N   (see what I did there with the spacing? XD).

The leaf graphic used on the HUD and other menus was added to close the A / E gaps and decorate the lines of other letters, giving a more distinguishable and original look to the font.

Game menu

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The main menu has been redesigned too. The list of options and the new logo have been moved to the left, giving more space for the animations to stand out and allowing us to add new lines if needed. The leaf selector and the font follow the same UI design used on the Skill tree, Pictures/Bios and other options, giving more cohesion to all the game menus.

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Some of you might prefer the old design but the non-pixel font inside the monitor seemed out of place and everything looked too similar to the Super Metroid menu.

Animations for cutscenes

Creating a dialogue sequence

The other big obstacle to overcome as of now is the big amount of animations that need to be done for the cutscenes. On most cases the characters require multiple animation sequences with the start, loop and stop states to read a paragraph.

The first and last states are designed to move from one action to another without cuts, and this is multiplied by the number of poses needed to reflect the mood of a character while doing a scene (hesitant, angry, frightened, etc.).

Only one member of the team takes charge of this so it is taking a while to complete all of them :-/  We try to recycle as much dialogue animations as we can, but sometimes is easy to lose focus on what is needed/what doesn’t worth the time, so planning is essential before we start working on a cutscene.









Some of the conversations between important characters take place via videoconference. For this purpose a lot of graphics were designed to show the other person on a big screen, so players can see who the speaker is and what is doing. They are also used to show maps or other info related to the events of a scene.






A lot of scientist appear on cutscenes so a big amount of animations have been prepared for them. Since we are still waiting for some backers to fill their bio files they are mostly bald until the final images are sent 😀





Guards needed additional actions outside their gameplay routines like use objects, salute, run without pursuing or get frightened.

Leonard White  





White is one of the main characters of the game and the responsible of the Robotics section of G.E.R. He will be tracking us down and following our every step in order to stop us. He also works with the engineering labs, where they developed his prosthetic arm.

Fixing things up and tweaking some mechanics

Besides level design, boss development and cutscenes we’ve been upgrading some mechanics and doing an exhaustive work of testing to fix key areas of the game. Here are some of the things done in the last months:


We worked a little more on the cervid behaviours. This enemies are able to rotate half of their body to see if Subject W is on their surroundings, causing problems in the way the body turns if we are near them and interact with their patrol. They also had problems shifting from an attack state to the uncovering action at the moment W entered a hideout, launching their electric whip instead of kicking the plant out of it.

Another fix was related to the way multiple cervids reacted inside a room and how they electrocuted the conducts if W was inside one and suddenly exited from the same trapdoor they were using to generate the electric current (doing it too fast broke them and they didn’t attack us after pursuing the plant).


The original saws had their patrol area outside of them, which occupied the entire floor of a room. This made them extremely dangerous because when players touched the ground the saw came right after them from any point of said room. Now this area is within the saw and covers a shorter range, giving more time to maneuver.

In addition there’s a new script called “first avoid” to force them to go in the opposite direction of players when they enter a room regardless of the direction (it was nerve-racking to see them coming after you while crossing the door).

Recovery time before blocking them with a decoy is a little longer too, allowing players to reach safe platforms easily.

Pushable boxes

This elements move twice the distance that they did before. Some parts of the game are based on moving boxes from one place to another and this make the mechanic less stressful.

Gas grenades with a timer

The grenades dropped on conducts by guards have a time before extinguishing, giving players time to re-enter it again from a trapdoor without the need to respawn the level.

Falling from corners

Subject W’s running and falling actions have been altered in order to properly recognize a platform’s corner (running transitioned so fast from one state to another that it jumped states and showed the plant falling with the run animation instead of the slip one).

Persistence of collectibles and room swapping

Now pictures and skill point containers work on both versions of a room. In PLFC a room can change its status while maintaining its current position on the map (for example: from regular lab to lab on flames > both rooms have the same collectible to pic, independently of the state of the level). Essentially, they are different rooms that change from one to another when a trigger is activated. Now this elements detect if they are being collected in any room version in order to disappear on the rest of them (we needed to reesctructure some levels too in order to let players come back for this objects regardless of a level state due to narrative events).


When the alert state goes off and the enemy has lost track of Subject W the reinforcement exits the room ignoring the “find and seek” state, making things easier for the player to escape.

We also included a new script that allow enemies to call different types of reinforcement depending on our necessities and the type of level that fits them better (cervid, guard, pyroguard…)


The interactive prompts have been reworked to follow the player while moving near an object and the button/key graphic has a darker fill to help them stand out on any surface.


This useful traps now have lower colliders to allow players perform the double jump easier.

Backer bios

We still need some of the high-end backers data to fill their documentation on the avatar form sent to them through Kickstarter private messages and e-mails.

If you are one of them and don’t send us the proper info in a few weeks we’ll need to include you with a design and name of our own choice (the development needs to move on and the bios section/cutscenes of the game have to be closed). Don’t miss that out!

Reuploading the web

Some of you have written us about a virus that infected our web, so we are doing maintenance labors on it and moving from WordPress to a dedicated space where we can have a better control of anything that involves the site. Sorry for the inconveniences and thanks for keeping an eye on it!


We are still working seven days a week to have the game as early as possible this year, but sometimes unexpected things get in our way and delay the development process. Being a team of three doesn’t help much either since every member needs to do multitasking on multiple areas, but it seems that we are able to handle everything for the most part. If other setbacks appear on the way be sure that we’ll inform you about it and hope that we can dodge any bullet that comes our way!

Some fixes , more enemies and a electric fight

Hello everyone! Here we are with some juicy things that we wanted to share with you and more details about the development process.

On a brief note, we wanted to address the frequency of our updates. We usually keep a 2-3 months gap between them because we collect most of the content created in that time frame, and getting the media together to make an update within our 10/7 infernal schedule is complicated (also, we stated multiple times that we don’t want to post a “hey we are still alive, working hard, ‘kay bye” kind of post and prefer to show a bunch of content). We know that some of you would be less concerned if we posted shorter updates, but at this stage we think that it’s out of doubt our compromise with the game, since we always strive to publish new content on a regular basis. Progress goes slowly but surely.

Last months we fixed a ton of stuff, finished the last enemies, developed bosses, and worked on unfinished puzzles. Bosses are very tricky to create, more so considering all the different outcomes that may appear once Subject W has the full set of skills (does the boss see W camouflaged if we break its equipment? Has to avoid shell attacks so players won’t finish him in 5 seconds? What happens if the spore is at Lv3 instead of Lv2? Headaches everywhere)  >_<

A bunch of enemies have been added too, but we can’t show most of them since they enter spoiler territory. In any case you can check below the rest of human/mechanical NPC’s that will appear in a relatively advanced state of the game.

So without further ado, let’s have a look at the new things we’ve been working on.

Minor Fixes

Guard pursue routine

As of late, this enemies kept their position after the plant disappeared (either by exiting their sight, entering a hideout that was far from them, or using the camouflage skill when they were actively chasing Subject W). This was made on purpose, so players won’t be able to pass through them easily and forcing players to think carefully before facing different kinds of situations. The problem with this behavior is that guards stayed in the last known position of the player, even if Subject W was a few feet away out of their vision path, which looked kinda ridiculous.

Now if the player disappears they stay in the last known position of the player for a brief time in a “tense” state before moving forward until they find the player again or reach a wall.


The only downside about this is that you can avoid them with the camo skill almost instantly (unless there is another enemy called as backup) so we either find a path between both mechanics or keep them still for the same amount of time that the camo skill lasts at Lv1, so players can’t pass through all situations in a blink.

What do you think about this change?

State bubble color issues

We talked more than enough about the enemy’s state bubbles but we wanted to show a quick change made recently.


Now the state icon will be represented in black, indifferently of its background. We realized that on certain spots the negative effect mixed the icon form wile descending, so we decided to tint all of them with a universal color to avoid confusion and obtain an homogeneous look.

Highlighted conducts

One thing that we noticed was that the conducts to connect rooms vertically can go unnoticed because of the dark palette and design, and probably some people will miss them.

To help players locate them from any position we added orange arrows to their design, giving them away with a simple look at the stage.

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Different animations to enter/exit trapdoors

To make the gameplay more fluid and accessible, all interactive elements have an area of interaction bigger than themselves, and Subject W is moved automatically to the point where the animation/action is launched. It may be the case that a solid object is pushed near a trapdoor, so we locked trapdoors when pushable platforms stayed above them. Here comes the tricky part: the interactive area of the trapdoor is way bigger than the pushable itself, so the solid gets in the way while repositioning Subject W, getting the player stucked between both elements and locking the movement.


To avoid this problem we needed to change the animation of W entering from the side and doing it above the trapdoor, reducing the interactive area and fitting it to the sprite so it won’t interfere with the pushable object.


New enemies

So far, all the regular enemies of the game have been created but this is is the extent of the content we can show regarding this part of PLFC without revealing too much of the plot:


The cambot is the mobile version of the security camera. It also has a laser pointer that is moving constantly, so staying unnoticed is more difficult inside a room with one (or more) of these. Once the sensor locates Subject W it will follow the player, revealing its position to other enemies. Cambots are able to cover larger surfaces than a regular camera and sometimes players will need to keep an eye on their routine if they need to take care of multiple enemies at the same time.

Decoys and spores will keep them busy or knocked out temporarily so the use of skills can be handy if there is no hideouts near Subject W

PS: Yeah the FX of the box is way off, it’s just a placehoder.

Hazmat scientist


Aside their look and how they react to certain skills, this enemies can perform the tasks of a regular scientist. Their singularity is that the hazmat suit protects them from the spore and host skills (both long range) so players must find a way to distract them or directly knock them out knowing the consequences of that action if someone is on the surroundings.


Following the same line of design of the previous enemy, the pyroguards are immune to darts and spores. Their weapon of use is a flamethrower that generates progressive damage when they are confronted, so you better keep the shell skill active near them.


Lt. Shyam Ryder

Ryder (whom you probably remember from the demo) will be one of the main characters of the story. He’s one of the subordinates of Captain Ash Galloway and one of the most dangerous enemies that we’ll face inside GER. Electric traps are his specialty and the suit he wears provides him with special abilities to both evade attacks and create an energy field to keep us at bay.

The electric dash helps Ryder get away from direct hits and leaves W defenseless 

His close quarter attack produces progressive damage 

Ryder is equipped with a railgun that shoots long-range lightning bolts. It is also capable of creating an electric current across the floor, so you’d better keep an eye on his attack routines.

Like Clark, Ryder is an expert marksmanship and Subject W will have a small gap to avoid his shot 

After charging the railgun and unloading it under his feet the floor will turn into a dangerous surface

Aseprite Importer

This is not a tool that we developed, but it is worth mentioning since it’s helping us a lot and, hopefully, improve the workflow of other people that reads this post. The Aseprite Importer tool, that can be found on the Unity Asset Store, has been conceived to import animations from the Aseprite animation program to Unity without the need of creating sprite sheets. It automatically generates the texture by itself, preserves the animation speeds in the Unity timeline and even read the tags inside the .ase file, separating them into different animations. Also, when a change is made outside Unity, the data is reimported so it can really save you precious time.

Estimated Time of Arrival

We talked about the release date multiple times in both comments section and previous posts, and it’s always a sensible matter to speak about because we know how eager are you to play the full game, but we can’t compromise the quality of the product to have an earlier release. We are looking to complete all content for the first quarter of next year but if things get complicated with the rest of bosses and the development of cutscenes we could be talking of a summer release. At least all basic content, enemies and most of puzzles and stages have been done, but you must add testing to the mix, so time will tell.

The amount of animations of this game is insane so we’ll be putting extra time on holidays to make additional progress on this department in hopes to reach the coding side and try to blow milestones faster   ᕦ(ò_óˇ)ᕤ

Well, that’s all for now. We’ll continue posting new content as soon as major advances are made or, at least, try to keep you up to date in the comments and show that we stay on duty. See you!

In-game menus, new traps, shader improvements, debugging

Long time no see! We’ve been on multitask mode the last months, balancing the gameplay with continuous testing and adding new content in form of enemies and bosses.

A lot of time has been spent debugging one of the most challenging chapters of the game, focused entirely on puzzle solving and interaction with the player surroundings. It took us a little more than expected but the result was worth the effort since it gives a twist to the game narrative and adds a great variety of mechanics.

And in the end that is our main focus with this project, trying to develop an experience that is constantly shaping the gameplay and allows players to face situations in their own way. Now let’s take a look at some of the things that we’ve been working on.

Start Menu: skills, collectibles, tutorials and options

All game menus are coded and completely functional by now, though some of the designs like the skill set descriptions, photo locations, or tutorials are unfinished and will remain so probably until the game is completely balanced and tested -Fx need to be added too-. Here you can have a look at the structure of the START / ENTER menu and its navigation in detail.


Skill tree

This is the interface where players will be able to see what abilities have been unlocked, their skill set and the number of skill points obtained to enhance them.


The skill points are shown in the center of the tree and can be used to power up all the abilities that have an icon with the shape of said points below them.

These abilities can be reset to LV1 on Garden rooms -Save places-, giving the possibility to readapt the gameplay strategy for each player -some may prefer to boost the offensive skills or upgrade other stealth techniques instead-. This makes the gameplay more malleable and could help players to overcome certain situations if they have problems solving them with their current set of abilities.



Della’s pictures will be scattered throughout the facility and will reveal the location of hidden skill points. Once players figure out the room revealed by a photo, an interactive prompt will appear upon the object that hides the skill point. Pressing the action button near it will drop this item.


Bio Files

Once an important scene has been played the personal info of certain characters will appear below this submenu.


The texts will expand the universe of the game and, also, show the Kickstarter profiles send by backers of the Replicant and above tier -don’t worry, we didn’t gather your bios yet. We’ll let you know by private message and e-mail-.


Not much to say about this. You’ll be able to change the resolution, audio, language, and other common stuff that can be found in most games. The game options submenu allows to load a game file or exit to the main menu / desktop.


New development tools

Development tools have been created in the meantime to improve different work routines like to speed up the creation of rooms and the testing process. This is a selection of some of the most useful:

Room Version Swapper

This script allows us to change entire rooms, adding or modifying enemies, situations, and graphics inside them such as backgrounds and interactive objects -platforms, panels, etc.- while maintaining the main structure of the rooms unaltered -sorting layers, positions, and others-. This was required for different reasons like changing complete rooms for aesthetic purposes -going from a regular background to a burned one with partial parts of both rooms intact, for example- or the need to show a different color adjustment curve for a certain situation.



In reality, this script only changes the room a door is pointing at, so when you cross that door the room seems different than before. The consequences of doing this, however, are much more complicated to deal with, considering that we have to update the map and the internal information about the room. Persistence of objects in both rooms becomes a bit tricky too.

Replace instances

A simple tool to replace selected game objects with other ones on the editor, useful for changing decorations on duplicated rooms or updating objects without losing old prefabs. It preserves the position of the object on the scene and the sorting layer.


Improved climbable platforms

Since not all the platforms need to show a climbable prompt on both sides – for example, connected shelves, stacked piles of boxes, etc.- we needed to unfold each interactive platform on the project hierarchy and deactivate its properties in order to make it unclimbable.


With this new script we can check / uncheck this option inside the script if an object needs to have an active corner to be climbable.


Additionally, any side that’s left activated will check every frame if it’s truly climbable or has to deactivate itself in case anything is blocking the way like a pushable platform, or moving the platform itself and losing the ground.

Upgrading the World generator

The rooms are conceived as individual entities which in turn are part of another GameObject: the chapter in question stores multiple room prefabs with different components and properties so it took some time for the engine to create playable builds for testing. The larger the project was growing, the longer it took to generate those builds so we decided to make a new option on our own Level editor tool to generate specific areas of the map instead of loading the whole bunch of stages and connections between them. Now we can create test builds in no time and perform changes faster.

Gameplay updates

Removing the walk restriction for the Camo ability

As you were able to experience after unlocking the Camo skill on the playable demo, anytime you make a movement while having the invisibility on Subject W will abandon this state and left the player exposed to the enemies.

Our main goal with this ability was to give players a tool to resolve certain situations and not overshadow the rest of the skills or avoid the use of the surroundings -basically going invisible and walking by most of the enemies-. Allowing certain npcs to detect us depending on the Level of the skill helped to balance it, but on the other hand we couldn’t help but sense that penalizing players to stay quiet during its use was a little bit harsh and the cost of wasting an energy leaf if they press the skill inadvertently or need to maneuver during its use might be a little abusive.

We tuned up this mechanic and now you can move with the camo active. Enemies will still be able to detect Subject W if you move on Camo mode and they will attack until the plant stays put in another position (think of it as the Predator visual effect: quiet is untraceable but the graphic distortion generated by any movement reveals its position). A light tint effect was added to the camouflage on movement to differentiate both states.


As you can see in the video, enemies will stay in front of the last point where they identified the plant so players won’t walk past them every time to avoid complex situations. Upgrading the skill to another level will increase the time of use to avoid enemies on alert state.

Pixel perfect animations for state bubbles

So far these bubbles -which represent if an enemy is distracted, searching, alerted, or knocked out- showed a smooth transition emptying the bubble of its color to reflect the amount of time left.


Each bubble box has an icon inside it, and these kinds of transitions sometimes blurred the graphic and the final design wasn’t very clear so we decided to show progress pixel by pixel, blending with the pixel perfect look of the game.


New decoy

Well, not exactly new but we made a few tweaks to it. First of all, we noticed that making the decoy appear by Subject W’s side caused different errors like getting stuck inside a box or appearing in the air near a corner before falling:


Now the decoy appears in front of Subject W to avoid these problems:

Also, in order to differentiate both W and the decoy we changed its color scheme and tinted its seed green like the one of Subject W to relate them aesthetically.

Graphic improvements

Door mechanisms

It is only a simple detail but now the door gap shows more detail instead of having a black mass on their inside when the door is open.

New corridor maps

These graphics have been reworked to show a more clean design of a sector and stand out the colors representing Save gardens, elevators, and others.


Also, the squared modules are imported as individual game objects instead of full maps designed by hand outside the game engine. This helps decrease the size of the graphic atlas and allows to quickly modify them if rooms that are changed or replaced.


LED lights for different decorations


Animations of flickering LEDs have been added to different elements such as computers, servers, and other electronics, giving more depth and richness to the backgrounds.

Climbable surfaces for the decoy

A lot of interactive panels can -or must- be accessed by the decoy so we created larger surfaces for this elements in order to see that they both work as a panel and as a platform.

Skin shading achieved

As shown on Update #49 we were looking for a way to modify the color palette of a character while applying other effects above it, like the red alarm layer. Eventually, we ended up doing one of the first ideas we had and one which was suggested by some of you -huge thanks to those that tried to help us- so we made an uber-shader capable of processing all the color effects in place at any given point.


A shader is created for every type of enemy that we are going to need, these shaders take a variable amount of colors -that varies on the type of character- and when the shader detects a pixel with one of these colors it changes it to another color -for every original color we have another which is going to replace it-. Apart from this, the shader is capable of tinting and blending external color effects with the character’s current palette.

More enemies and traps


These turrets won’t allow Subject W to go through a specific way by shooting viciously in our direction if we dare to go pass their warning range.


They can be disarmed if we deactivate their button from behind or drop a decoy without being noticed:



Remember those annoying enemies from Megaman that run in your direction any time that you put a foot on the floor? They are back! Well, more or less…

The saws are designed to interrupt their patrol routine when either Subject W or the decoy are at surface level. The camo ability doesn’t work in this case but the decoys can stuck them temporarily.


Development status

It could seem that we slowed down a little bit in content creation since the game required a huge amount of debugging for certain levels that were built with multiple versions, but we are developing most of the milestones much faster that months ago. Still, there’s sooo much stuff that needs to be added, especially in the bosses department. We are putting around 10 hours a day on the project -and happy to do so if we manage to give you a polished and entertaining product- but even with all that time invested in the development, we are still unable to give a closed release window as of now. We usually resolve key milestones while building levels and testing, but there’s a limit to the stuff we can do being a team of 3 with a single programmer. Luckily the core is solid and from now on most things rely on already made gameplay mechanics, but a pair of enemies and some of the bosses still require new structures and ad hoc routines that can’t be reused from other ones.

In any case, we can state for sure that 2018 will be the final year of development for Paradise Lost and we’ll -luckily- complete the final bits of the game for the first quarter of the year. With that in mind, we don’t want to rush it and have an early release with a lack of content so we’ll keep you constantly updated about any issue.

As always, thanks for your support.

Gameplay improvements and a bunch of new content

We’ve been busy the last few months debugging some mechanics from the demo that needed a twist while building new stages and gameplay situations. A ton of new content has been added too so it was high time to make a new update showing the game progress.

As for development status, we could say that right now around 65% of the facilities have been built with most situations and puzzles included. We managed to work at a faster pace thanks to the improves made to the building tools, allowing us to create new sections faster. For each room added we need to follow a series of steps to have them up and running, so we’ll take this opportunity to give you an in-depth look into the room assembly process.

Building game sections

To add a new stage we use our own Level Editor to create “empty rooms” inside the level grid. The room element works as a container with a coordinate value that allow us to change the position of said room on the scene with its content in place. All rooms must be connected to their section inside the project’s hierarchy so we can separate the game chapters in terms of level design and structure. Thanks to this tool we can also drag any object from the project folder directly to the Unity scene once we selected an element of the room that we are working on.

The Level Editor Tool place the object automatically inside the room instance and categorize it under the interactive or decorative list

To know if we are dropping the item inside the desired room and not another one a red outline is shown when a prefab is selected on the scene. This makes the creation process faster and more intuitive since we don’t have to locate the room inside the hierarchy and drop the elements there.

Cloned stages

Months ago we had some problems when we tried to duplicate entire rooms instead of creating them from scratch –prefabs of the objects lost their connection with their instances on the hierarchy, unrecognized areas after making a build, etc.- but we managed to solve them and now we are able to clone rooms and develop levels faster. A quick preview of an entire section can be made in no time after applying the necessary changes to certain elements of the duplicated stages.

The most common objects that need replacement inside cloned rooms -aside background decorations- are the conducts which vary depending on whether they need trapdoors, roadblocks or be completely closed

Connecting the level


After the decoration process, we ought to make sure that the exits are perfectly linked and all the doors have a correct ID assigned to the next room. Sometimes a room can have entry/exit points that are not regular doors, like conducts. For this cases, we need to include a non-visible element called “abstract door” that connects with another one in the adjacent room. The facing, ID, and connections of the door are modified under the Door Script.

Room properties


From the Unity inspector we can change the position and size of the room inside the map grid, add LUTs that attach specific color adjustments to the camera -unifying the tones of the sprites inside a room- and assign the theme of the stage or/and ambient noises.

Including enemies and designing situations

Up to this point, we follow the playable scheme previously designed with vector art -as seen on the Update #46– as faithfully as possible and make the necessary adjustments to enemy routines, platforms and decoration backgrounds. Then we add other interactive elements -such as panel buttons, elevators, etc.- according to the level design.


Assembling each room is relatively fast, the real challenge is to test the stage multiple times checking all the connections with other rooms and making sure that the gameplay situations work as planned.

New signage

A few months ago we published an image with the graphic change made to the hallway backgrounds, specifically the signs that represent the connections between the rooms and different sectors of the facility. Many of you preferred the previous design with bigger lettering so we look back at it and realized that, in both designs, every hallway looked the same and there was no differentiation between sectors.

First hallways

Second hallways

Taking these things into consideration we decided to make a quick redesign that wasn’t drastic and could blend well with the current hallway. The new aesthetic preserves the lettering of the latest design and adds bigger initials and numbers to specify the overall position of the stage. In addition, the signals of each area have a distinctive color, helping to differentiate them from one another.

Final hallways

Iconography and color

We’ve also included icons so players that have problems reading the pixel text are able to identify the kind of rooms that are connected with the current hallway.


These are some of the icons that you will find throughout the facilities. All the corporate-wise zones such as restrooms, cargo elevators and cafeterias have the same brand color making them a recurrent graphic element.

Door Locks

The locks prevent the player to access certain areas if they don’t use a skill to break them.


Like other objects that act as roadblocks, this element is represented by a red shape on the map.


Hideout changes

Enhanced accessibility to hideouts and trapdoors

One of the vital improvements made following your feedback is the possibility to react to interactives like hideouts and trapdoors regardless of the position of Subject W.

Now, if the player press action near those objects –either standing or crouched– the character will be automatically relocated to the necessary position before accessing it.


This way the player doesn’t have to be aware of the character’s stance to hide or escape from enemy’s sight, increasing the capacity of reaction in extreme situations -it also makes the control more fluid and handy-.

Middle hideouts redesign

Another change related to hideouts was the resizing of those that are separated from the rest of the elements –drawers and closets are attached to other structures–.


These hiding objects are usually located on hallways or storage rooms and comparing them with their surroundings their measurement looked weird and a little bit unrealistic. Besides the graphic complaint, Subject W changed its stance from idle to crouched while interacting with them. This was annoying considering that it needed to stand again since the character hides from the top.

We raised their height up to 18 px following the same measure as other interactive objects like platforms and took this opportunity to add more detail and animation in some cases.

Now the trolleys contain animated boxes and tanks

The more realistic size give us the possibility to develop new objects like cleaning buckets

Moving hideouts

As we had pending the implementation of the pushable platform mechanic, we took advantage of this concept by converting some of the wheeled objects that we talked about into mobile hideouts.


Since some enemies have the ability to detect Subject W -even if it uses the camouflage skill- these hideouts allow us to develop new strategies that help players go unnoticed.

Pushable platforms

This objects can be used to reach new places or solve puzzles by pushing them using one of the skills available to Subject W. Although at first glance they may seem simple, we’ve had to take a lot of things into consideration and study their viability to avoid different problems such as cornering Subject W to a wall or other solid, blocking exits or get enemies stucked among others.


All solid boxes share the same basic design and can be differentiated according to the color of their line and the type of icon. The red boxes can not be displaced, the blue are mobile and the yellow ones derive energy.

The solid boxes of Paradise Lost won’t allow players to go through them like other platforms such as tables, cardboard boxes or other structures, although they are designed to be climbable, showing the prompt on their corner when Subject W approach them. Their design allow us to create multiple situations as you can see below.




Building pushable elements


The building process consisted on modifying a solid static platform by the addition of a Rigidbody2D and a PLFCHealthComponent to it so we can know when it’s getting hit. When hit we apply a force and a direction depending on the amount of pixels we want to move it and the position of Subject W. When idle, these platforms are marked like kinematic objects as a failsafe in case any wrong or weird collision happens.

We designed the movement of these platforms to be as deterministic as possible, but designing a level counting the number of pixels needed for a box to get from point A to point B is a hassle, so we added magnet points to attach the platforms to, simplifying the task for the designer. This will help us develop puzzles as well, as we’ll be able to know if the platform reached a magnet point and solved the puzzle/situation of the room.

Solving gameplay issues

Giving the boxes the possibility to bounce against other solids was troublesome (Subject W needed additional animations with the shell equipped, new physic reactions, etc.), so we decided that they’ll stick to other solids and stay immovable while Subject W stays in the room. If the player exits/enters again the stage the box will be either placed in its original position or “magnetized” to specific points placed by us in order to keep a situation resolved.


With this method the boxes can be pushed blocking an exit, but it wasn’t a problem since the character is able to climb solids as long as they have the standard climbable size and the door frame has enough space to let Subject W cross with the pushable platform next to it.

Energy puzzles


The magnet areas are useful to create puzzle-like situations with a new element: the dynamos.

Dynamos can be connected to rooms without electricity, giving power to a panel after being hooked to a wall plug. Some chapters were built upon this mechanic with different variations but we’ll have to stop giving more details and let players resolve them  😉

Energy panels show the elements that are capable of receive energy inside a room like doors, computers or conduct fans



Now that we mention them, these components can be found inside ventilation conducts and create a temporary roadblock, damaging Subject W if it gets closer to the blades.


In order to advance players must find a way to disconnect them from the correct side or use decoys through the floor grids.

Reduced sensibility to avoid slipping near corners

An improvement we’ve made that we think is very substantial is refining Subject W’s movement when it’s getting near a corner. Until now when Subject W stuck out of a corner by a few pixels it would slip to the floor automatically, now at least half of Subject W’s body needs to be in the air to slip out of the corner.


This will give the player a little bit more room to maneuver on platforms and jump without falling to the floor and getting caught accidentally.

New Subtitle tools for Slate

Until now to make a cutscene with dialogues we had to run the subtitles and calculate the amount of time needed to make the speech appear at the right speed and in sync with the animation. This wasn’t exactly the best approach, so now that a lot of things got fixed, and the basics are done, we started making small improvements to this and other systems.

We calculated a default reasonable speed for the text and now the dialogue tool has the option to adapt the length of the clip to that speed, which can be changed if needed. We also simplified IDs for dialogues after improving our localization system among other minor QoL improvements.

The estimated length of each line is shown under the dialogue manager too, making it easier to coordinate different animations for a single paragraph

Ash animations

Ash is a key character of Paradise Lost and also one of Subject W’s greatest foes along the adventure. You had a sneak peek of her in the demo but we wanted to show you a few animations from the boss battles.





It was important for us to define her personality through the animation scheme, showing her marksmanship, reflexes and aggressive style focused on close quarter combat.

Fullscreen working on different resolutions

We managed to include a new resolution system under the game options menu, solving the issues that some of you experienced playing the demo outside the 1080p standard.

This was a huge setback for us since we designed the game camera to perfectly fit the 16:9 format (wide screens) and all rooms were drawn at the minimum size proportional to a full-HD res. (480 x 270 pixels). The problem appeared when the game was displayed on non-proportional resolutions, in which case it automatically jumped to the nearest proportional size, minimizing the content and making it unplayable (too small in most cases).

Since Paradise Lost can’t show more scenery like other games such as Hyper Light Drifter or Retro City Rampage (larger backgrounds > the camera simply shows more or less info) we decided to readapt the size of the graphics to fit them into non-scalable resolutions. The counterpart of this method is that the image is no longer pixel-perfect on certain sizes (which are highlighted on the resolution panel of the game options). Here’s a comparative of the old and new systems:


Click to enlarge

An example of resized pixels: the red ones are not proportional like the blue square

Development status

Most of the milestones planned are being developed at a faster pace. Our primary goal is to, at least, have the Beta for the end of the year, but the real deal will be the development of some bosses and depending on their complexity we’ll have to simplify their behavior or even left them out (hopefully not). Time will tell.

As always, thanks for your patience and support.